If you only know the (great) movie version of Margaret Mitchell's novel Gone With The Wind, you might think Atlanta was burned in a day. But a city as big as Atlanta can't be burned down that easily. It took General Sherman's army nearly three months, from September 1864 to November, to reduce the entire city and railroad center to ashes. The first of the three months was exactly 150 years ago.
150 years ago: the conflagration blazes around us. Of course, the clever journalist turned fiction writer Margaret Mitchell was not there for the original burning. It would take several generations before the young lady began typing her manuscript from a quaint room on Peachtree Street, imagining Scarlett O'Hara moving in to Aunt Pittypat's house on the same uptown corner.
I moved to northern Virginia in 2009. There were a few good surprises down here for this lifelong New Yorker, like the easy proximity of the thrilling Shenandoah mountains and rivers, and the rich, stark beauty of several Civil War battlefield parks that dot the region in a wide arc around Washington DC.
I found a few bad surprises here too, like the fact that this state hates public transportation. Train tracks are everywhere in northern Virginia, but you can't catch a train into Washington DC to see a baseball game or visit a national monument on a weekend, because there are no trains for people. This probably has more to do with Virginia's desire to keep people from Washington DC out than its desire to keep Virginians in. It ends up having both results.
So I found some good and some bad when I moved down to Virginia, and I also found some funny/crazy. Like the politics, which are entertainingly out of control.
If you're on the east coast of the USA these days, you might catch a painted bus called Furthur running up and down the seaboard. This colorful vehicle is named after the original Furthur that took novelist Ken Kesey, Neal Cassady, Ken Babbs and the rest of the Merry Pranksters across the country on a famous road trip 50 years ago. I caught up with Zane Kesey and the giant rolling metaphor he designed for his father when they finally rolled into Brooklyn, New York last month.
Don Carpenter was a writer’s writer. Born in Berkeley, California in 1931, he grew up there and in Portland, Oregon, served in the Air Force during the Korean War, and returned to earn a B.S. from Portland State and an M.A. in creative writing from San Francisco State. In 1966 his first novel Hard Rain Falling was published to critical acclaim, and for the rest of his life he was a professional writer. He lived in Mill Valley, California and was part of a group of writers—Evan Connell, Curt Gentry, Leonard Gardner, Gina Berriault and others—who met regularly at the Book Depot there, and at the no name bar in Sausalito.
Carpenter was never as successful or celebrated as his good friend Richard Brautigan. His novels and short story collections were praised by critics and fellow writers but did not sell well. He found work in Hollywood as a screenwriter, most notably for an unproduced screenplay of Charles Bukowski’s Post Office, and for Payday, starring Rip Torn as a country music singer. His novel about show business, A Couple of Comedians, was praised by Norman Mailer as “the best novel I’ve ever read about contemporary show biz.” Anne Lamott dedicated her 1994 book Bird by Bird to Carpenter, and praised his then work in progress Fridays at Enrico’s as a masterpiece in the making.
"It was a lust for political power." - Bob Woodward
"There is no simple answer." - John Dean
President Richard Nixon, caught in a big lie, resigned in disgrace forty years ago. As we commemorate our shared memories of this astounding political scandal today, we are unwittingly basking in a new layer of delusion and willful untruth.
Yes, we conceal the truth today about Watergate, especially when we talk about the original motive for the crime, and when we try to analyze the lessons learned. I've enjoyed watching a couple of new television shows that interview the principals in the affair, but I can't help cringing at the level of voluntary obfuscation, of creative contextualizing. The gauze of popular self-delusion about Watergate does not serve a sinister political purpose but rather serves our need for comfortable conclusions, for meaningful metaphor (which may be meaningful even when it does not reveal a truth), for the dubious entertainment of banal psychobiography. It's easier to demonize Nixon than it is to realize that the disease that brought this President down is widely shared by others.
In 2002, filmmaker Richard Linklater selected a six-year-old actor named Ellar Coltrane to be the star of his new movie Boyhood, which was expected to take twelve years to film.
Linklater also cast seasoned actors Patricia Arquette and Ethan Hawke to play the boy’s divorcing parents, and signed his own eight-year-old daughter Lorelei Linklater on as the older sister. Big sister Lorelei steals the show in the movie's first couple of scenes, first with a Britney Spears dance number, and then with a temper tantrum at a family meal. This is where Boyhood’s journey begins. When the movie is over, twelve years or two hours and forty-five minutes later, all of the characters has been transformed, and the audience has been transformed too.
I’m a Richard Linklater fan — sure, I love Slacker and Dazed and Confused, though I never got to see the Trilogy. I'm probably in the minority among Linklater fans because I like School of Rock better than Dazed and Confused. But I have a new favorite Richard Linklater film today. Boyhood is his masterpiece, the most fully realized work of his career.
"Wizard of Oz is on again", I noticed recently while flipping through my favorite classic movie channels. Then I spotted the year on the movie listing: 1925.
Here it was, the early version I'd always been curious to see! This silent-era Wizard came out fourteen years before the great Judy Garland classic, and even though I'd heard the 1925 version was a box-office dud and an artistic failure, I'd long been curious what this interpretation of L. Frank Baum's children's book contained.
I observed a strange reaction among my friends -- especially my fellow liberals -- when a new insurgent group calling itself "The Islamic State in Iraq and Syria" began capturing towns and small cities in war-torn Iraq.
There's really nothing new about this insurgent group, which represents the same Sunni coalition that lost power with the fall of Saddam Hussein and has been trying to get it back ever since. But all of a sudden, several of my friends were up in arms about the insurgency. Why? Because they're fundamentalists.
Indeed, the new insurgency is using Islamic fundamentalism as a way to gain support (and frighten Brits and Americans). It's a smart strategic move: calls to religion have always been useful recruiting tools in time of war. But what amazes me is that some of my American friends are more offended by the fact that the new insurgents are religious than by the fact that they are rampaging through towns murdering political opponents with their families.
The atrocities are perfectly acceptable, apparently ... as long as they don't start bringing sharia into it.
Sure, every other obituary of 86-year-old Brooklyn novelist Daniel Keyes is going to talk about Flowers for Algernon. And, yeah, that was his best book. But I'm going to talk about The Touch, simply because I remember this novel well, and because nobody else is going to mention it.
As a lonely middle school kid, I was so desperate for good books that I would bottom-feed the local library stacks, looking for off-hit books by writers who were (I could already tell at my young age) literary one-hit wonders. This is why during the waning years of the Summer of Love and the waxing years of the Me Decade I read Love, Roger by Charles Webb (author of The Graduate), David Meyer is a Mother by Gail Parent (author of Sheila Levine), This Perfect Day by Ira Levin (Rosemary's Baby). And it's why I read The Touch by Daniel Keyes, author of the powerful Flowers for Algernon. I suppose I was also attracted to The Touch by the mod cover design, which reveals Daniel Keyes trying to reach a hip adult literary audience. That never quite happened, but we'll always have Flowers for Algernon.
Furthur, Further ... that literary device on wheels, that great American rolling metaphor.
Fifty years after novelist Ken Kesey gathered his friends into a painted bus and drove a jagged route from California to New York City, the novelist's son Zane Kesey is hitting the road again, in a new bus with a new gang of Merry Pranksters, funded by a Kickstarter that has already met its goal.